"Now that the National Film Board of Canada is not the only big player in the game of transmedia storytelling (outside of the branding world, of course), the Tribeca Film Institute, Mozilla and more are eager to put their money and support behind transmedia storytelling"

If you’re just putting video on the web, that’s not very exciting. The web is there to foster dialog, participation, it’s not television or a movie theater. If you’re going to use a mobile phone as one of your storytelling platforms, why not emphasize the user’s intimacy with the device. Smart phones have become intensely personal items.

In short, transmedia creators and producers would do well not to simply scatter their stories across different media. They have to carefully consider the features and strengths of the platform, and design the expression of that aspect of the narrative to take best advantage of them.

It’s also important for creators to place within each expression of the story a marker of some sort that will lead the audience to the next medium. This can be done subtly, within the context of the story, but some aspect of the interface will also need to more overtly tell us how to get to the rest of the presentation. Fail to do that well, and you’re audience (or as I prefer to call them, participants) won’t be able to enjoy the complete work...

This is my new must read for everyone. Lassiter's insights about computer graphics (CG) transcend his industry. They offer guidance for UX and web designers (any designer really) and businesses alike. His comments on storytelling and emotion connection are the key to success in design and business. I will be quoting this article for years to come.

Recently, leading brand valuation and strategy consultancy Brand Finance named LEGO the most powerful brand in the world. This is what they said:

“[LEGO] scores highly on a wide variety of measures on Brand Finance’s Brand Strength Index such as familiarity, loyalty, promotion, staff satisfaction and corporate reputation. LEGO is a uniquely creative and immersive toy; children love the ability to construct their own worlds that it provides. In a tech-saturated world, parents approve of the back-to-basics creativity it encourages and have a lingering nostalgia for the brand long after their own childhoods. The LEGO Movie perfectly captured this cross-generational appeal. It was a critical and commercial success, taking nearly US$500m since its release a year ago. It has helped propel LEGO from a well-loved, strong brand to the World’s most powerful.”...

Quote "It’s two weeks beforeHenry’s July 28 premiere, and the creative brain-trust of Story Studio is huddled in a dimly lit room (they do meditation in here in the mornings). Ramiro Lopez Dau, the director, is wearing the latest prototype of Oculus’ headset and watching the current version ofHenry—something he’s seen dozens of times. His supervising technical director, Max Planck, is at a computer console, his shoes off; he’s watching the feeds going into both of Lopez Dau’s eyes, while the handful of other employees in the room watch Planck’s display and point out glitches. A ladybug shows up in the wrong color? That’s a Post-it. One of Henry’s eyes looks wonky? That’s another."

Characters – the importance of storyConvenience – the importance of getting the right content to the right people at the right timeCommunity – the importance of connecting fans and rewarding them.

At the intersections we see the actions and functions we must support:

Characters+Convenience – the personalization of the story experience for each person based on their relationship to the worldConvenience+Community – the continued “personalization” but in a broader sense as applied to audience segments. For example an audience team collaborates to unlock content that only they can see. Also at this intersection is the ability to share content and refer friends to the worldCommunity+Characters – this is the relationship between the community and the world. Creators should provide opportunities to strengthen the relationship through procedures and technology to allow fan contributions, character interactions and such like.

Lauren Davis: "Even for Pixar, Inside Out is an ambitious film. After all, it’s largely set inside the mind of an 11-year-old girl, and tries to metaphorically explain all of the wonderful, frustrating, and confusing things that go on inside the human head while exploring a sort of emotional truth. So how on Earth did it all come together?"

Ulrik Hunskjær: "The animation I've made is in absolutely no way affiliated with either South Park or Comedy Central. It was made out of a genuine love for both the TV show and transmedia. All rights belong to the respective companies and I hope so much that they don't kill me for what I've made!"

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